The Abbot’s Tale, though, is something different, and in this Iggulden is serving more as a translator than a writer, or even a researcher. It is drawn almost entirely from a surviving manuscript written by Dunstan, a tenth century English monk, and the titular protagonist of The Abbot’s Tale. That manuscript is a sort of memoir or maybe a personal confessional, and it is clear that the original author never intended for it to be read, or even to survive.
eviews), I decided it was finally time to sit down and read what has become known as The Divine Comedy.
I finally finished reading the collected works of Xenophon! It's true I don't use very many exclamation points, but considering that the first time I picked this up was more than five years ago, and finally sitting down and reading it took me almost a whole month, I think I'm allowed to make an exception to my own rule. Since I've already subjected you to a month and a half worth of Xenophon book reviews, I'm not going to include another overall review; that content will be included in this post, along with my reviews for the various minor treatises included in the Complete Works.
In my most recent reread of The Lord of the Rings, I expressed that there is a certain mythical quality to the story and its manner of telling, and that is even more so present in The Silmarillion, which makes sense: according to the letter of Tolkien's included with the text, Middle Earth was intended to be a sort of original mythology, evolved from the languages he had invented.
At the end of The Two Towers, if you're not familiar with the plot already, you'd probably believe that this story is not going to end well. Of course, the biggest spoiler of this book is its own title, which Tolkien did not pick. His original choice for the title of the third part of The Lord of the Rings was The War of the Ring, but he was persuaded to change it to the more positive, and arguably more descriptive, The Return of the King. Knowing this history, I'm not entirely certain which title I prefer. However, I am entirely certain that I enjoyed this part of the story just as much as the others.
There is a fair consensus amongst those who come to consensuses about such matters that Tolkien wrote The Lord of the Rings primarily as a way of exploring Middle Earth - that is, this is what is known as a milieu story, in which the setting, the world, drive much of the plot. In The Two Towers this is on fine display again. One of the more interesting things to do with a copy of The Lord of the Rings is to sit down and look at just how much ground is covered by the various journeys; you then realize just how large a world Middle Earth is, and how small a section is explored in these tales. The distance covered by Frodo and Sam through such great peril and difficulty in the entirety of their chapters in The Two Towers is essentially a tiny corner on the map.
As I said in my review of The Hobbit, during this reread I was surprised by how light that novel is; I suspect that my memory of its tone from my last reading was affected by my intermediate viewing of the movies. Or, perhaps I was merely linking it with the core Lord of the Rings books, which very quickly take on a markedly different tone from their prequel (and yes, I know that technically there is just one "book," which was split into three parts for the convenience of readers and publishers). The implications of a darker turn are heavy throughout even the early chapters of The Fellowship of the Ring, but are pivotally confirmed with the events of the chapter A Knife in the Dark.
Though I've read Timothy Zahn before, and enjoyed his books, this wasn't a book that I sought ought to read. In fact, it wasn't even on my extensive reading list. After finishing Back to Methuselah, nothing on my reading list was really calling out to me to be read, and I happened to see that this piece was in Prime reading on Kindle, which meant I could read it for free. A short, free, light read seemed the perfect thing coming off of a heavier piece like Back to Methuselah, while trying to think of what I actually wanted to read next.
I came across a reference to it when I was looking for the attribution for a quote I was using in an essay for work (that quote is: “You see things; and you say ‘Why?’ But I dream things that never were; and I say ‘Why not?’”, in case you were curious), and thought the brief plot summary sounded interesting, so I added it to my list. This despite thinking to myself "self, in all of the George Bernard Shaw books and plays that you were forced to read in school, you hated precisely all of them. Why would you possibly think that you're going to like this one?"
As soon as I saw the cover of this book, I suspected that I was going to enjoy it. I know they say not to judge a book by its cover, but when you read enough in a given genre you start to know what styles of covers tend to be associated with the books that you particularly enjoy. This book’s cover evoked the fantasy and science fiction of the 1980s, like Dragonriders of Pern, or Xanth novels; in other words, it reminded me of a lot of the books that I read in middle school, usually by my dad’s recommendation (in fact, I wouldn’t be surprised if, upon research, I discovered that the cover artist is the same for some of these titles). By the time I had finished the first chapter, I was enjoying it as much as anything I’d read in a long time.